A setting for unaccompanied mixed voices of the Dismissal Troparion at Vespers. The work was written for Sonoro as part of the Sonoro Choral Inspirations project.

Revival + Revival II - Choral Edition

Just In Case You've Forgotten

Citadel’s Destiny is a march that can be performed either in concert or on parade. It was commissioned by the Musique de l’Infanterie de Lille. A special feature is that it adheres to the conventional codes of military marches albeit with a modern twist. The title refers to the citadel built by Vauban in Lille “The Queen of Citadels” with which the band shares a destiny. This march is still performed by the Infantry Band as part of their traditional concert repertoire. Citadel’s Destiny is a march that can be performed either in concert or on parade. It was commissioned by the Musique de l’Infanterie de Lille. A special feature is that it adheres to the conventional codes of military marches albeit with a modern twist. The title refers to the citadel built by Vauban in Lille “The Queen of Citadels” with which the band shares a destiny. This march is still performed by the Infantry Band as part of their traditional concert repertoire.

A Miracle Play for Music Theatre - Opera in One Act by Stephen McNeff A Miracle Play for Music Theatre - Opera in One Act by Stephen McNeff

Twelve Baroque pieces for guitar. Twelve Baroque pieces for guitar.

Released in 2007 this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus harp and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00 Released in 2007 this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus harp and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00

Commissioned by Hennepin Avenue United Methodist Church in Minneapolis Minnesota to celebrate the service of William H. Mathis Minister of Music and Fine Arts. It was first performed on June 11 2017. The noble spaciousness of this wonderful poem by Catherine Cameron is set to original music expressed in the nature of an arpeggio which can take us to the heights in just an instant. Trumpet calls echo through this arrangement: you'll find them in all the parts. For SATB chorus sometimes in unison sometimes in two parts the piece moves to its soaring conclusion “Great Creator give us guidance Till our goals and yours are one.” Duration 2:45Commissioned by Hennepin Avenue United Methodist Church in Minneapolis Minnesota to celebrate the service of William H. Mathis Minister of Music and Fine Arts. It was first performed on June 11 2017. The noble spaciousness of this wonderful poem by Catherine Cameron is set to original music expressed in the nature of an arpeggio which can take us to the heights in just an instant. Trumpet calls echo through this arrangement: you'll find them in all the parts. For SATB chorus sometimes in unison sometimes in two parts the piece moves to its soaring conclusion “Great Creator give us guidance Till our goals and yours are one.” Duration 2:45

An Alleluia Flourish

Chamber Music Volume 3: Four Joyce Songs

A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form. This movement is the first. The text is by Nathaniel Schlott (1701) and it's paired with music in the form and feel of a rather jaunty Saltarello despite the grim title! Duration: 1:30 A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form. This movement is the first. The text is by Nathaniel Schlott (1701) and it's paired with music in the form and feel of a rather jaunty Saltarello despite the grim title! Duration: 1:30

A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form. This movement is the final one. The text from Psalm 30 (KJV) is set to a sprightly Gigue. This movement differs from the other three in that it is written for double SATB chorus. But the textures are light and dance-like perhaps not requiring huge forces. Duration: 1:30A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form. This movement is the final one. The text from Psalm 30 (KJV) is set to a sprightly Gigue. This movement differs from the other three in that it is written for double SATB chorus. But the textures are light and dance-like perhaps not requiring huge forces. Duration: 1:30

This serene music is an arrangement of Scene XIV from the composer's oratorio Paradiso which is a setting of the third part of Dante's Divine Comedy (Commedia). The music is an evocation of Dante's passage into the hightest realms of heaven. The vocal parts are wordless unaccompanied and sublime representing a song that accompanies his transformation of consciousness as he is surrounded by love that moves the sun and other stars. Duration 5:45 This serene music is an arrangement of Scene XIV from the composer's oratorio Paradiso which is a setting of the third part of Dante's Divine Comedy (Commedia). The music is an evocation of Dante's passage into the hightest realms of heaven. The vocal parts are wordless unaccompanied and sublime representing a song that accompanies his transformation of consciousness as he is surrounded by love that moves the sun and other stars. Duration 5:45

Except from the classic Susa collection Carols and Lullabies. Except from the classic Susa collection Carols and Lullabies.

“Angels Singing ” is based on the carol “Angels We Have Heard on High.” This new arrangement opens with shepherds (Tenor and Baritone soli) hearing angel voices “o’er the mountains guided by a Holy light.” A few angels (Tenor voices) sing in the distance. The carol now shifts to full chorus. Often the Basses portray the shepherds and the Tenors sing as angels. The Clarinet plays a featured role enhancing the message of the lyrics. Duration: 4:30 “Angels Singing ” is based on the carol “Angels We Have Heard on High.” This new arrangement opens with shepherds (Tenor and Baritone soli) hearing angel voices “o’er the mountains guided by a Holy light.” A few angels (Tenor voices) sing in the distance. The carol now shifts to full chorus. Often the Basses portray the shepherds and the Tenors sing as angels. The Clarinet plays a featured role enhancing the message of the lyrics. Duration: 4:30

Calling to mind compositions written for traditional men’s singing societies in Germany the harmonies and lyric character of this arrangement are as one might hear in a Christkindlmarkt in Northern Europe. This arrangement is especially useful when programming a Christmas in Germany-themed concert and/or when it is best for a men’s ensemble to engage with only limited lines of German poetry. Duration: 3:00 Calling to mind compositions written for traditional men’s singing societies in Germany the harmonies and lyric character of this arrangement are as one might hear in a Christkindlmarkt in Northern Europe. This arrangement is especially useful when programming a Christmas in Germany-themed concert and/or when it is best for a men’s ensemble to engage with only limited lines of German poetry. Duration: 3:00

In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the fifth and final movement Vidimus stellam based on the Epiphany text We have seen his star in the East. The organ begins quietly asif in awe with the same material the choir will sing as Vidimus stellam. The mood remains quiet and adoring until it is interrupted by a majestic restatement of the opening material. A gentler section follows Venit lumen tuum (Your light is come). And again bursting out the same text is repeated in a grand conclusion to this movement and the entire work. In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the fifth and final movement Vidimus stellam based on the Epiphany text We have seen his star in the East. The organ begins quietly asif in awe with the same material the choir will sing as Vidimus stellam. The mood remains quiet and adoring until it is interrupted by a majestic restatement of the opening material. A gentler section follows Venit lumen tuum (Your light is come). And again bursting out the same text is repeated in a grand conclusion to this movement and the entire work.

In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the fourth movement Surge illuminare based on the Epiphany text Rise shine...for the glory of the Lord is risen upon you. Like thethird movement this begins dramatically with the men first then the women proclaiming the opening text. At measure 11 the tempo launches into Vivo with a 3+3+2 feeling and mixed meters. Rhythmic dance-like and fun. The organ accompaniment sometimes doubles sometimes punctuates. The movement ends much as it began in the dramatic slow statement of Surge illuminare. In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the fourth movement Surge illuminare based on the Epiphany text Rise shine...for the glory of the Lord is risen upon you. Like thethird movement this begins dramatically with the men first then the women proclaiming the opening text. At measure 11 the tempo launches into Vivo with a 3+3+2 feeling and mixed meters. Rhythmic dance-like and fun. The organ accompaniment sometimes doubles sometimes punctuates. The movement ends much as it began in the dramatic slow statement of Surge illuminare.

Often referred to as the Black National Anthem here is a new arrangement for 2-part treble voices. Young people need to know this song and its importance in American history. Singers of all ages need to sing this song and know this inspirational anthem of faith and hope. Often referred to as the Black National Anthem here is a new arrangement for 2-part treble voices. Young people need to know this song and its importance in American history. Singers of all ages need to sing this song and know this inspirational anthem of faith and hope.

Incorporating the concept of drones (included on every part) here is the second volume of tuning chorales from Richard Saucedo. These will become invaluable to helping your players strive for tone development balance and blend in addition to the focus on intonation.